Thank You, Mr. Robertson

Ara crema

Through a film letter, Lara communicates with her great-grandfather Paco, whom she barely knew. She explains to him what has happened since he died.

Revela la Ausencia

Odense Zoo gennem 75 år

Do you want to take a selfie? How bout with a 16mm Bolex film camera?

This is not merely another film about cinema history; it is a film about the love of cinema, a journey of discovery through over a century of German film history. Ten people working in film today remember their favourite films of yesteryear.

An insight into 5 queer film festivals accompanied with the discussion about the importance of queer film festivals, queer film and people's experience with both.

Max Ophuls is the legendary director and two of his favorite actors are James Mason and Danielle Darrieux. Mason and Darrieux were each in several Ophuls projects but were never together in an Ophuls movie, although they should have been. What might that movie have been like? It's anybody's guess (but cinephiles can dream, can't they?). Somewhere between a historical essay and a speculative one.

Satirical artist and art director, Suzanne Heintz, adopted her fake family more than 15 years ago to challenge persisting stereotypes about women's lives.

Disrupt, reject, destroy, avoid: At the interrupted rhythm of the broken photographs that a granddaughter has rescued from her grandfather’s hands, the last piece reconstructs the memory of an older man who has decided to leave behind his life impulses to surrender to sleep and calm. An essay on the act of joining our memories, the illusion of remembering and the freedom to forget.

The year 2015 will be chronicled as magical, mythical and memorable. The People of Tomorrow experienced Tomorrowland on three continents this year. After celebrating the 10th anniversary in Belgium in 2014 and putting ashore in the United States, the third chapter of our magnificent fairytale was written in Brazil for the very first time.

A self described "documediamentary" about the reactions to the release of the then final Star Wars film, "Revenge of the Sith".

Joana Biarnés, una entre tots

The 70th anniversary of the “Fotogramas” magazine comes in the shape of a sentimental voyage through the history of Spanish cinema thanks to a mosaic of voices represented by people who make films, those who write them and those who consume them. The documentary pays tribute to the readers of “Fotogramas” helped by the leading figures of Spanish cinema, who will read to the camera the most representative letters received at its offices in the history of the magazine.

In this Pete Smith Specialty short, Dr. Harold E. Edgerton demonstrates stroboscopic photography, which he helped develop. This process allows us to see in slow motion what happens during events that occur too fast to be seen by the naked eye. Examples shown here include a bullet in flight as it shatters a light bulb, the moment of impact when a kicker kicks a football, and the motion of a hummingbird's wings as it hovers.

"The evaporation or the centralization of the self. Everything is there." —Charles Baudelaire A sensorial approach to landscape In the deep contemplation of landscape the senses are altered. We feel a sublimation experience where the mental image of landscape undergoes a metamorphosis. The actual space is distorted, time flows in a different way: it stops in our consciousness. It is the connection at the "full instant," the idea of "durèe" of Henri Bergson, where the intensity of the experience makes the image of landscape expands.

Memories, mirrors, madness and Memento collide in this experimental video essay focusing on the photographs and photographers in thousands of narrative films. All the Memory in the World is a stream-of-consciousness meditation on cinema, photography, identity, memory and dreams narrated by an insomniac who obsesses over images.

Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.

A retrospective interview with director Werner Herzog.

The hard-working cinema owners and operators of the small towns found in BC's southern interior are doing more than showing movies and selling popcorn––they are bringing their communities together.